"Bust Of Young Woman Terracotta Art Nouveau Aristide De Ranieri"bust of a young woman in terra cotta sign aristide de raniéri 1865/1929 art nouveau period decor of branches of mistletoe rests on a wooden base covered with fabric small brass plate facade excellent condition Aristide De Ranieri comes from a dynasty of sculptors on Tuscan marble. His father, Angiolo De Ranieri from Querceta (1834-1911), a sculptor trained in the Pietrasanta and Carrara workshops and his brothers Ermemegildo (1862-1919) and Ferruccio (1867-1957), adorned the main monuments of the cities and cemeteries of Viareggio and Pietrasanta in the late nineteenth and early twentieth centuries. His nephews Dino De Ranieri, son of Ermenegildo, and Lelio De Ranieri (1890-1967), son of Ferruccio, continued the family tradition until the middle of the 20th century. Even today, the Arte De Ranieri Studio headed by Sirio De Ranieri, grand nephew of Aristide, and his son Dino, the last descendant of the De Ranieri dynasty (sculptors), continue to train sculptors in Pietrasanta. Formed in the family workshop of Pietrasanta, he was sent to Paris by his father to open in 1893 a branch of Angiolo De Ranieri e Figli at 10 rue de Perceval in the 14th arrondissement. In parallel with his activities as a representative in France of the family business, Aristide De Ranieri installs a sculpture and ceramics workshop where he creates his own works in the Art Nouveau style then in full rise. Member of the Society of French Artists, he regularly appears in the Salons of Paris where he obtains honorable mention in 1899. Quickly, in front of the success of his creations near the Parisian amateurs and the art dealers, the production of ceramics becomes the Aristide De Ranieri's main activity until the declaration of war in 1914. Too old to be mobilized, he continues his activities but quickly encounters difficulties to sell his creations to a population more concerned with the necessities of daily life of war than to embellish his living environment. He must stop his production and, to live, came to propose patriotic drawings to Parisian newspapers and magazines like La Baïonnette. Throughout this period, one also finds his signature on many caricatures diffused in the form of postcards used as support of anti-German propaganda. After the end of the conflict, Aristide De Ranieri tries to resume his activity as a sculptor and ceramist, but he quickly finds that the Art Nouveau style that made his reputation is completely out of fashion. No longer meeting the favor of an audience now more attracted by new, more sparse artistic expressions, he made the decision to definitively close his studio. He then began, as many sculptors of the time, a new career in academic statuary and intervenes primarily in state orders as an ornamentalist war memorials or commemorative works. His last known work, a medallion commemorating the crossing of the Atlantic by the aviators Dieudonné Costes and Maurice Bellonte, dates from 1929. One loses the trace of Aristide De Ranieri from this date. We do not know if he stayed in France or if he retired to his family in his native Tuscany. The date and place of his death remain unknown.